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break away from their clinches and
gathering up the things that they are
taking with them there is much hustle
and bustle. Finally, laden with blan­kets,
lunch baskets, thermos bottles,
etc. , etc., they exit.
Scene 11 (Long). Through windows
in girls' room, shooting out and down,
as they pile the stuff into the car and
board it and prepare to drive off. . If
there are others the whole caravan is
preparing likewise .
Scene 12 (Exterior, medium). Down
in the street as the car (or caravan) is
about to drive off amid much noise and
gaiety. As the car ( or last car in the
caravan) drives away into the distance
(Fade-out).
Scene 13 (Fade-in, exterior). Atmos­phere
shots of sky, clouds, trees, moun­tains,
or other landscapes to establish
mood. These types of shots, including
others of wild life: animals, birds, flowers,
etc., maybe cut-in throughout the pic­ture.
Scene 14 (Medium). Car (or caravan)
arrives at destination. It's either the
base of a mountain, or a comparative
molehill, depending on the locale of the
cinemakers. Wherever it is that the
hiking party that is to begin has ar­rived.
They disembark and assemble
packs, knapsacks, hiking staves, etc.
One of the boys enthusiastically leads
the way with enthusiastic but imprac­tical
haste. The rest follow.
Scene 15 (Long) . The file of hikers as
they wend their way up a trail, Jim and
Mable bringing up the rear. Mable
cautiously, slowly, takes her own sweet
time with every step. (Tilt the camera
for a sky or tree-top shot.) (Fade-out.)
Scene 15 (Medium) . Jack and Judy
climbing over somewhat of a precarious
spot. Judy slips and throws out an arm
to save herself. She falls on the arm
and yells with pain as she falls. Jack
is instantly at her side and helping
her back on her feet.
Scene 16 (closeup). Judy prone. Jack
helping her up.
Scene 17 (Medium). Jack supporting
Judy as the others gather around. She
has hurt her wrist and elbow badly.
Under the officious handling of Jack
and Jim, they decide that no bones are
broken; but when Judy e xplains the
arm is more comfortable in an akimbo
position in front of her, b ecause h e r
elbow hurts worse than h e r wrist, they
fix a sling from a huge kerchief for her.
Finally the hike proceeds.
Scene 18 (Medium). They have come
to a fork in trails. One is an easy
way, which is obvious from the looks of
the trail; while the other is more difficult,
which is also obvious. Undaunted they
all want to go the difficult way-that is,
all except Mable, who protests in her
best lazy, unenthusiastic, Calamity Jane
manner.
Scene 19 (Closeup) . Mable protesting,
but after much argument, and a kiss or
two from Jim, she finally acquiesces.
Scene 20 (Medium). All resume the
hike up the difficult trail. Despite
the dissension; all is serene in the sky
and treetops.
FAXON DEAN
I NC.
CAMERAS
BLIMPS-DOLLYS
FOR RENT
MO. 11838
4516 Su nset Boulevard
Nigh t, NO. 225 63
,
COOKE CINE LENSES
Cooke lenses will give you crisp,
extremely sharp definition
throughout the entire spectrum.
Envisioning future demands,
Cooke lenses have always sur­passed
current requirements.
Focal lengths for every need.
Write for descriptive literature.
BELL & HOWELL
COMPANY
Exclusive World Distributors of
Taylor- Hobson Cooke Cin l L enses
1848 Larchmont Avenue, Chicago
New York: 30 Rockefeller Plaza
Hollywood: 71 6 N. LaBrea Ave.
London: 13-14 Great Cas tle St.
23 6 AMERICAN C INEMATOGRAPHER • May, 1939
Scene 21 (Medium). T hey com
difficult crossing place. J ack str d
the spot to aid the g irls in cro •
giving special atte ntion t o Judy, wh
arm is in a sling. · Judy, in cro i
throws her weight w rong which thro
Jack off balance and h e falls with J ud
on top of him, cushioning h er f a ll. 0th
gather around and h elp t h em up. Jud
is unhurt this second time, but J
has a bad rent in his breech es at t
knee. Jack insists that h e's not hurt
but nevertheless he walks with a de fin i
painful limp throughou t the r est of ti .
picture. There is some b eautifu l n r
at this point, which they all stop t o
joy- the injured fake a n enjoym nt
sincerely as possible. ( Cut-in shot of
scenery.)
Scene 22 (Medium) . T h ey com t o
desirable spot for lunch and rest. ( 'l lu
lunch is optional.) If there are many in
the party, s omething happens to all of
them; that is, except Mable, w ho, a l­though
continually protesting, esca11
all mishaps whate v e r . During the lum· h·
eon scenes, at the direct or's discr tio n
one can injure himself opening a can , o r
a bottle neck breaks off when attempt i
made to remove the t op, or a fing r i
hit driving a nail, or a h atchet infli
superficial damage while one is cuttin
wood, or an insect stings or bites on o!
them, etc.
In most instances a n over e agern ,
or overenthusiasm, is t o blame for ach
accident. This over e a g erness nd
overenthusiasm must be a dequately p or ­trayed
in each scene n arratin g a h
accident; for each minor b ut painful
accident probably would n ot h app n in
the normal environment of on e's horn
kitchen . But today ea c h m emb er of th
outing- except Mable, of cou rs -·
overwhelmed by the breath of spring
and the latter's various causations, and
they all g e t into trouble. After ch
troublesome scene it might be wis
show that all trouble exist s only amo n g
mankind; and interpolate shots of natur
in all its s e renity- sky, treetops, land ­s
c apes, e tc.
Scene 23 (Medium). On the r tum
trip they must cross a brook, or ma h,
or swamp, and Jim falls in, d renchm
himself to the wais t. H e's in such an
enthusiastic hur ry (nothing's happ n
to him so far- h e's the l ast, except Mab]
of course ), h e loses his footin g and in
he g oes.
S cen e 24 (Med ium) . They all h I
drag Jim out as b est t h ey can ·ith
the ir various injuries h ampe r ing h
more or less, and unanimou sly d id
8mm BULK FILM 16mm
NON HALATION WESTON I
Fine g rain, serr.i -othro. Can be used in • "t
~tr aig ht or doubl e 8mm camera.
200 ft. 8mm in double 8mm width, S1.75
For titles, neg atives, reversal, positives. L•bo .
r at or y pa c ked . Formu l a!> inc l uded. Write for
c at a log on bulk fi lm. 8.,,m, 16 mm. 35mm.
HOLLYWOODLAND STUDIOS
SOUTH GATE CALIFORNIA

break away from their clinches and
gathering up the things that they are
taking with them there is much hustle
and bustle. Finally, laden with blan­kets,
lunch baskets, thermos bottles,
etc. , etc., they exit.
Scene 11 (Long). Through windows
in girls' room, shooting out and down,
as they pile the stuff into the car and
board it and prepare to drive off. . If
there are others the whole caravan is
preparing likewise .
Scene 12 (Exterior, medium). Down
in the street as the car (or caravan) is
about to drive off amid much noise and
gaiety. As the car ( or last car in the
caravan) drives away into the distance
(Fade-out).
Scene 13 (Fade-in, exterior). Atmos­phere
shots of sky, clouds, trees, moun­tains,
or other landscapes to establish
mood. These types of shots, including
others of wild life: animals, birds, flowers,
etc., maybe cut-in throughout the pic­ture.
Scene 14 (Medium). Car (or caravan)
arrives at destination. It's either the
base of a mountain, or a comparative
molehill, depending on the locale of the
cinemakers. Wherever it is that the
hiking party that is to begin has ar­rived.
They disembark and assemble
packs, knapsacks, hiking staves, etc.
One of the boys enthusiastically leads
the way with enthusiastic but imprac­tical
haste. The rest follow.
Scene 15 (Long) . The file of hikers as
they wend their way up a trail, Jim and
Mable bringing up the rear. Mable
cautiously, slowly, takes her own sweet
time with every step. (Tilt the camera
for a sky or tree-top shot.) (Fade-out.)
Scene 15 (Medium) . Jack and Judy
climbing over somewhat of a precarious
spot. Judy slips and throws out an arm
to save herself. She falls on the arm
and yells with pain as she falls. Jack
is instantly at her side and helping
her back on her feet.
Scene 16 (closeup). Judy prone. Jack
helping her up.
Scene 17 (Medium). Jack supporting
Judy as the others gather around. She
has hurt her wrist and elbow badly.
Under the officious handling of Jack
and Jim, they decide that no bones are
broken; but when Judy e xplains the
arm is more comfortable in an akimbo
position in front of her, b ecause h e r
elbow hurts worse than h e r wrist, they
fix a sling from a huge kerchief for her.
Finally the hike proceeds.
Scene 18 (Medium). They have come
to a fork in trails. One is an easy
way, which is obvious from the looks of
the trail; while the other is more difficult,
which is also obvious. Undaunted they
all want to go the difficult way-that is,
all except Mable, who protests in her
best lazy, unenthusiastic, Calamity Jane
manner.
Scene 19 (Closeup) . Mable protesting,
but after much argument, and a kiss or
two from Jim, she finally acquiesces.
Scene 20 (Medium). All resume the
hike up the difficult trail. Despite
the dissension; all is serene in the sky
and treetops.
FAXON DEAN
I NC.
CAMERAS
BLIMPS-DOLLYS
FOR RENT
MO. 11838
4516 Su nset Boulevard
Nigh t, NO. 225 63
,
COOKE CINE LENSES
Cooke lenses will give you crisp,
extremely sharp definition
throughout the entire spectrum.
Envisioning future demands,
Cooke lenses have always sur­passed
current requirements.
Focal lengths for every need.
Write for descriptive literature.
BELL & HOWELL
COMPANY
Exclusive World Distributors of
Taylor- Hobson Cooke Cin l L enses
1848 Larchmont Avenue, Chicago
New York: 30 Rockefeller Plaza
Hollywood: 71 6 N. LaBrea Ave.
London: 13-14 Great Cas tle St.
23 6 AMERICAN C INEMATOGRAPHER • May, 1939
Scene 21 (Medium). T hey com
difficult crossing place. J ack str d
the spot to aid the g irls in cro •
giving special atte ntion t o Judy, wh
arm is in a sling. · Judy, in cro i
throws her weight w rong which thro
Jack off balance and h e falls with J ud
on top of him, cushioning h er f a ll. 0th
gather around and h elp t h em up. Jud
is unhurt this second time, but J
has a bad rent in his breech es at t
knee. Jack insists that h e's not hurt
but nevertheless he walks with a de fin i
painful limp throughou t the r est of ti .
picture. There is some b eautifu l n r
at this point, which they all stop t o
joy- the injured fake a n enjoym nt
sincerely as possible. ( Cut-in shot of
scenery.)
Scene 22 (Medium) . T h ey com t o
desirable spot for lunch and rest. ( 'l lu
lunch is optional.) If there are many in
the party, s omething happens to all of
them; that is, except Mable, w ho, a l­though
continually protesting, esca11
all mishaps whate v e r . During the lum· h·
eon scenes, at the direct or's discr tio n
one can injure himself opening a can , o r
a bottle neck breaks off when attempt i
made to remove the t op, or a fing r i
hit driving a nail, or a h atchet infli
superficial damage while one is cuttin
wood, or an insect stings or bites on o!
them, etc.
In most instances a n over e agern ,
or overenthusiasm, is t o blame for ach
accident. This over e a g erness nd
overenthusiasm must be a dequately p or ­trayed
in each scene n arratin g a h
accident; for each minor b ut painful
accident probably would n ot h app n in
the normal environment of on e's horn
kitchen . But today ea c h m emb er of th
outing- except Mable, of cou rs -·
overwhelmed by the breath of spring
and the latter's various causations, and
they all g e t into trouble. After ch
troublesome scene it might be wis
show that all trouble exist s only amo n g
mankind; and interpolate shots of natur
in all its s e renity- sky, treetops, land ­s
c apes, e tc.
Scene 23 (Medium). On the r tum
trip they must cross a brook, or ma h,
or swamp, and Jim falls in, d renchm
himself to the wais t. H e's in such an
enthusiastic hur ry (nothing's happ n
to him so far- h e's the l ast, except Mab]
of course ), h e loses his footin g and in
he g oes.
S cen e 24 (Med ium) . They all h I
drag Jim out as b est t h ey can ·ith
the ir various injuries h ampe r ing h
more or less, and unanimou sly d id
8mm BULK FILM 16mm
NON HALATION WESTON I
Fine g rain, serr.i -othro. Can be used in • "t
~tr aig ht or doubl e 8mm camera.
200 ft. 8mm in double 8mm width, S1.75
For titles, neg atives, reversal, positives. L•bo .
r at or y pa c ked . Formu l a!> inc l uded. Write for
c at a log on bulk fi lm. 8.,,m, 16 mm. 35mm.
HOLLYWOODLAND STUDIOS
SOUTH GATE CALIFORNIA